Chapter 4. A look at musical form

[ LiB ]

Chapter 4. A look at musical form

NOTE

To examine the Logic files for this chapter, copy the folders named 'form' and ' exile ' from the CD to your computer.

Practically all music has form a structure or framework, often planned before the composition process even begins. I'm referring here to composed music as opposed to improvised music (although improvisation is often based on form anyway). The casual listener does not always notice the form, nor should they because in most cases it's a hidden element. They enjoy the music on a superficial level, and quite rightly so. After all, when we gaze at a work of art we are not necessarily examining its hidden form. We appreciate the whole picture.

Sometimes the musical form is very simple and glaringly obvious, the 12 bar blues being a perfect example. Other times it's very complicated and stretched across a long time span. A classical symphony, for instance, may contain four complete movements and last up to 45 minutes or more.

One thing's for sure. Although the listener may not be consciously aware of musical form, they certainly know when it's missing! Formless music and plenty has been composed and forgotten lacks the sense of completeness that is perceived by the listener and held in their memories. Of course good music has been written without conventional musical form but it has no place in this book, which is primarily concerned with producing commercial music.

Form can be anything you want it to be. It's about organization. However, over time, certain musical forms have appeared and remained embedded in popular culture. They've stood the test of time and provided a basic structure for composers to use repeatedly. Let's take a quick look at some established musical forms in three very different genres.

[ LiB ]